Idiophones (match-boxes or supposed maracas) and frenzied strokes on piano single-note played by Australian composer Ben Frost on the initial "Vasilia" starts the engine of the unsettled and catchy sonic storm by Matthew Collings, who seems to cast the net of emotional blankets over electronics and instruments in order to render the shattering eruption of emotion over compositional schemes. All tracks mirror this more or less explicit intent and it's quite interesting how this dynamic energy Matthew tries to steer into his songs finally manages to damage and corrode the sound of each instruments and melodic structure as if it resurfaces like an emotional burst, which got sedated and unspoken for long. Even though I think his arguments against electronics, which he uses just as he needed to cobble all different parts of his songs, is quite anachronistic, an opinion which maybe comes from the fascinating places he lived (Iceland and Edinburgh), its approach results into very good tracks (I particularly enjoyed the cinematic rise on "Paris Is Burning", the entrancing sonic honey-pot of "The Meet On The Subway" and the absorbing grip of underlying symphonies on "Crows"). I don't really think that a possible use of electronics could spike it, if I think about musicians or bands who explored adjacent stylistical and "poetical" territories such as Efterklang, Digitonal or Galaktlan (even if they are bands). Anyway I cannot but recommend to have a listen to sonic whirlwinds and flames, which is going to persuade many listeners about Matthew's remarkable skills.